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Exploitation 1 HE work of this corporation does not stop with the making of the picture, nor with the selling of it to the exhibitor. For one huge department, in fact, it only begins there. Such is the nature of modern business, due to intensive competition, that it is not enough to make the best product, and to distribute it to the salesmen. It must also be sold to the ultimate consumer—the public. This corporation has one method of selling its product: telling the truth about it directly to the public as often and in as many ways as human ingenuity can devise. For the purpose of telling the truth about its product to the public, the company main- tains a Publicity and Advertising Department, almost as large in personnel as the depart- ment which produces and the department which distributes. The world today hinges upon advertising. The war could not have been won except by advertising. The churches are now among our biggest advertisers. And advertising means literally "to turn toward"—to turn the attention of the public toward the product you are trying to sell. And so the advertising of Paramount-Artcraft pictures is on as high and efficient a scale as their production and their distribution. It has many ramifications, many divisions, but all are actuated by the one purpose—to turn the attention of the public to Paramount- Artcraft pictures by telling the truth about them. The spirit of the advertising campaign of Famous Players-Lasky Corporation can perhaps be best understood through a knowledge of the most significant and revolutionary branch of it—the national advertising. It was the first company to advertise to the public through the medium of national magazines, such as the Saturday Evening Post. The national advertising of Paramount-Artcraft Pictures has been a success for two reasons. First, because the public is deeply interested in the subject. Second, because the subject is treated in a way that tremendously stimulates the already alert public imagination on the possibilities of the screen. Here was an art, an industry, a science, that could be all things to all men—a mirror of life, a recorder of events alive, a goblet of elixir to the emotions. Here was something American. What was to be done with it in relation to that other immense modern force, national advertising? As it turned out, world-events played into the hands of Paramount-Artcraft and their advertising campaign. What else but the finest of photoplays could express the bursting heart of America at home during the world-war? Was is not inevitable that the national advertising should prove to the public that Paramount-Artcraft was playing an important role in the terrible yet triumphant making of modern history? In the Saturday Evening Post, in other national magazines, in the greatest newspapers of all our big cities, the sheer utility to everybody of Paramount-Artcraft was regularly reported by the campaign. It was advertising in its broadest sense, a necessary public narration of the stride of events. Consider one simple instance, the value of the screen in assisting to sell the Liberty Loans. [ 5' ]